Venice: Tacuinus. Jan., 1502. y First edition. Vellum. Very Good. Folio. 2 parts in 1. ff.viii,clx;xxii. Complete. Title page with a large woodcut illustration. Large and small woodcut initial letters throughout. After the table of contents, the first leaf is beautifully printed in red & black, with a large woodcut initial "M". Bound in later full vellum, gilt spine with black morocco label. Title page and a few preliminary leaves with some marginal soiling, and there are two small repairs to the outer margin of the title. Text overall is very clean, with some early marginalia.

Venetiis: Apud Aldum 8vo (16.4 cm, 6.5"). [140] ff.. 1502 First Aldine edition of Lucan's Pharsalia, the greatest epic poem in Latin after the Aeneid, on the subject of the civil war between Pompey and Caesar. Born in Córdoba, Spain, Lucan (A.D. 39–65) was the grandson of the elder Seneca, nephew of the younger Seneca, and the brother of the Gallio mentioned in Acts 18. He published the Pharsalia in A.D. 62 or 63, but it seems likely that his poetic talent aroused the jealously of the vain Nero, as after its publication the emperor forbade him to write or even plead in the courts, and then later compelled him to commit suicide for alleged treason. The editio princeps of Lucan was printed in Rome by Sweynheym and Pannartz in 1469. This edition is based on the text of the Venice 1493 edition and improved upon by Aldus after an old manuscript given to him by Marco Antonio Mauroceno, who contributed the prefatory note. The short life of Lucan appended at the end is drawn from Tacitus. This is a => nice and early Aldine with spacious margins, printed in the famous Aldine italic with guide letters and space left for initials (unaccomplished). The famous anchor and dolphin device is not found here for it did not make its first appearance until late in 1502, when one issue of Dante's Terze rime introduced the image to the world presses — this dates to the earlier part of that year. A second Aldine edition was issued in 1515. Evidence of readership: One underlining and one inked correction of a typo. 20th-century vellum over boards, spine very faintly blind-stamped just with author,
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Venetiis: "aedib. Aldi Mense, Octobri". 1502. "The first Aldine edition of Ovid; edited by Aldo Manuzio; 8vo, [64], [204] leaves; collating: a-h8 (h8 blank), 2a-z8 A-B8 C4 (268 leaves); printer's woodcut device on title page and recto of final leaf; modern full red morocco, double blind rule on covers enclosing a gilt-ruled panel, gilt-decorated spine in 6 compartments, gilt-lettered direct in 3; small gouge in morocco near the front hinge, neat paper repair to title page verso obscuring the ends of 3 lines of text on the verso, all else very good and sound. Partial old library rubberstamp at the bottom margin of b1; early 3-line ink annotation in Greek at the bottom margin of t7.Includes a life of Ovid extracted from the writings of Aldus. In all, Aldus issued three volumes forming the complete works of Ovid, the others in December 1502 and in February 1503. Adams O-469; BM STC Italian, 1465- 1600, 479; Renouard, Annales de l'imprimerie des Aldes, p. 37:12; Ahmanson- Murphy 66. "

Venetiis: Apud Aldum 8vo (16.4 cm, 6.5"). [140] ff.. 1502 First Aldine edition of Lucan's Pharsalia, the greatest epic poem in Latin after the Aeneid, on the subject of the civil war between Pompey and Caesar. Born in CÃ³rdoba, Spain, Lucan (A.D. 39Â–65) was the grandson of the elder Seneca, nephew of the younger Seneca, and the brother of the Gallio mentioned in Acts 18. He published the Pharsalia in A.D. 62 or 63, but it seems likely that his poetic talent aroused the jealously of the vain Nero, as after its publication the emperor forbade him to write or even plead in the courts, and then later compelled him to commit suicide for alleged treason. The editio princeps of Lucan was printed in Rome by Sweynheym and Pannartz in 1469. This edition is based on the text of the Venice 1493 edition and improved upon by Aldus after an old manuscript given to him by Marco Antonio Mauroceno, who contributed the prefatory note. The short life of Lucan appended at the end is drawn from Tacitus. This is a => nice and early Aldine with spacious margins, printed in the famous Aldine italic with guide letters and space left for initials (unaccomplished). The famous anchor and dolphin device is not found here for it did not make its first appearance until late in 1502, when one issue of Dante's Terze rime introduced the image to the world presses Â— this dates to the earlier part of that year. A second Aldine edition was issued in 1515. Evidence of readership: One underlining and one inked correction of a typo. 20th-century vellum over boards, spine very faintly blind-stamped just with auth
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Venetiis: Apud Aldum 8vo (16.4 cm, 6.5"). [140] ff.. 1502 First Aldine edition of Lucan's Pharsalia, the greatest epic poem in Latin after the Aeneid, on the subject of the civil war between Pompey and Caesar. Born in Córdoba, Spain, Lucan (A.D. 39?-65) was the grandson of the elder Seneca, nephew of the younger Seneca, and the brother of the Gallio mentioned in Acts 18. He published the Pharsalia in A.D. 62 or 63, but it seems likely that his poetic talent aroused the jealously of the vain Nero, as after its publication the emperor forbade him to write or even plead in the courts, and then later compelled him to commit suicide for alleged treason. The editio princeps of Lucan was printed in Rome by Sweynheym and Pannartz in 1469. This edition is based on the text of the Venice 1493 edition and improved upon by Aldus after an old manuscript given to him by Marco Antonio Mauroceno, who contributed the prefatory note. The short life of Lucan appended at the end is drawn from Tacitus. This is a => nice and early Aldine with spacious margins, printed in the famous Aldine italic with guide letters and space left for initials (unaccomplished). The famous anchor and dolphin device is not found here for it did not make its first appearance until late in 1502, when one issue of Dante's Terze rime introduced the image to the world presses — this dates to the earlier part of that year. A second Aldine edition was issued in 1515. Evidence of readership: One underlining and one inked correction of a typo. 20th-century vellum over boards, spine very faintly blind-stamped just with author
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Aldus, Venice, 1502. BOOK HISTORY À LA GRECQUE EDITIO PRINCEPS, Folio, 124 unnumbered ll. AA8, AA-?O8 OP8. Greek letter, undecorated, guide letters, spaces blank. Contemporary 4-line Latin inscription signed "S.P" on pastedown, "15ff" (probably original price) in margin of t.p. and small inked symbols in title, a few tiny wormholes in early and final ll. Ink stain to extreme upper edge of early gatherings, very light waterstain to upper blank margin of a few final ll. A very good clean copy, well margined, on extra thick quality paper, in striking contemporary calf over boards originally a la Grecque, covers with triple ruled outer borders, inner ropework with fine roundels gilt at each corner and centre, surrounding panel of richly decorated blind lattice work with gilt roundel at each corner, double and triple ruled panels within enclosing panel with roof vault border, gilt roundel in each vault space and in the middle, two ropework wheels surrounding ropework multiple knots; spine, joints, and all corners worn, covers with some surface abrasions, head and tail of spine shaved to stand upright. A handsome and historic quality binding, probably Venetian. Editio princeps of the first and still most famous work in the Western historical tradition. Thucydides has been described as the father of scientific history because of his strict standards of evidence gathering and analysis of events in terms of cause and effect. He has also been called the father of the school of political realism viewing relations between states as based more on might than right. His text is still st
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Andrea Torresano, Venice, 1502. Folio. ff. 118 [vi] 84 [2] 58 [iv] 26 [i]. Roman letter; some light marginal spotting, slight marginal water-staining to one or two quires, not affecting text. A very good, clean, well-margined copy in C16 vellum over boards. Second edition of the collected works of Johannes Antonius Campanus (Giovanni Antonio Campano; c. 1429-1477). Campanus, churchman, humanist and orator, led a varied career which took him to appointments in Naples and Perugia (as a teacher of rhetoric), before his election as Bishop of Crotone in 1463. From 1472-74 he was Papal Governor of Todi. A prominent figure of the day, Campanus was the subject of a Latin epitaph by Poliziano. The present edition reproduces the introduction by Michael Fernus from the first, Roman edition of 1495. The essays in the present volume demonstrate Campanus' rhetorical and theological expertise to the full, and are comprehensively indexed. They include orations on the Holy Spirit and St. Stephan; we are not told the occasions on which these were delivered - if, indeed, they were anything more than exercises in composition. Other instructive essays include 'De dignitate martrimonii' and 'Contra Turchos ad principes germanos'; biographies of Thomas Aquinas, Pope Pius and Archbishop John of Benevento also appear. The present volume is, however, dominated by a lengthier biographic work, Campanus' six book life of the famous condottiere Andrea Braccio Fortebracci, conte di Montone (1368-1424), who was fatally wounded by his fellow soldier of fortune Francesco Sforza near L'Aquila, northeast of R
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Venice: Aldus Manutius, May, 1502. Folio (290 x 198 mm), 122 leaves, without blank A8 and terminal blank P4. 18th-century red morocco, gilt border on covers, spine with gilt decorations and title, comb-marbled endpapers, red sprinkled edges. Text in Greek and Latin. Large red initials in first chapters. Extremities lightly rubbed, few marks to rear cover, a little light soiling and staining internally, but generally very good, with a few marginal annotations in Greek, 18th-century engraved bookplate of an English collector, Michael Smith, to the front pastedown. Editio princeps of the most important work in Greek historiography, edited by Aldus from a Cretan manuscript. As with his edition of Herodotus, the text had first appeared in print in the Latin translation of Lorenzo Valla. The recipient of Aldus's dedicatory letter, Daniele Renier, was a Venetian senator, procurator of San Marco and collector of Hebrew, oriental and classical manuscripts. The printer mentions how Renier frequently comes to his shop to see what Greek or Latin text might be under production. "The standards and methods of Thucydides as a contemporary historian have never been bettered … He uses [reported speeches] to make clear, what would have been intolerably dry in the extract, the personal and political motives of the protagonists on either side… Thucydides has been valued as he hoped: statesmen as well as historians, men of affairs as well as scholars, have read and profited by him" (PMM).

A WONDERFUL COPY Folio. Ff (xxiv) 264 (misnumbered 260). Black letter, double column; woodcut initials in various styles (grotesque, naturalistic, etc.) decorative typographical tailpieces. Title within border of woodcuts, depicting Moses (Hodnett 491) and Aaron with followers (Hodnett 492) at the sides, the Pope enthroned with a bishop, friar, king, and laity supplicant before him, beneath (Hodnett 535), a church to the side. On the verso, a most expressive full-page cut of the Crucifixion (Hodnett 465), a fine large cut of the Trinity (Hodnett 451), another smaller with different imagery on folio xiv (Hodnett 362); Christ teaching the 12 Apostles the Lord's Prayer, church and decorative border at side on fol. xxxvi (Hodnett 477). Lovely half-page cut on fol. cxxvii of the Saints in glory before God and the Virgin in architectural setting (Hodnett 538), tracery panels at sides; Caxton's device with de Worde's name inserted on verso of last leaf (McKerrow 46a), on verso covered wagon in landscape 'Chertsey' on the tilt, a curious coat of arms (Chertsey's) above, surrounded by naturalistic panel borders, upper and lower bearing Caxton's monogram (McKerrow 49 & 50).Lower fore edge of t-p a bit frayed, four small clasp holes at outer and corresponding rust marks to that of next, a few small round wormholes to three or four ll., minor age yellowing in places. A very good, clean, well-margined copy in stunning contemp. London calf over oak bds., covers with blank outer border ruled to corners, surrounding double frame roll divided into compartments, containing a column between t
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Zhonghua; 1st Edition. hardcover. New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Hardcover. Pages Number: 1502 Language: Chinese. Publisher: Zhonghua Book Company; version 1. Inscriptions on Tortoise Shells class Compilation (Set 3 Volumes) compiled by the main clues in text form. has been published on the Inscriptions on Tortoise Shells All data were analyzed. excluding the pseudo-carved. engraved learning Satisfaction guaranteed,or money back.

Original Illustrated Autograph Manuscript,? in pencil, two pages, 5.25? x 8?, front and verso. Not signed. No place, no date. Fine condition.Robert Crumb has written 275 words of African history on a page he?s numbered ?57.? On verso, numbered by the artist ?58,? Crumb concludes his historical essay on Africa, draws ?The New York Times? logo, with ?York Times? in bold lettering, One of the four figures he?s drawn is identified as ?Mike / Malone.? Another is, arguably, a prototype for his iconic character, ?Fritz the Cat.? The text on page 57, in part, spelling uncorrected, ?Africa, pushed south brought slaves north (Moslem Traders.) This was long before white men. Vasco de Gama came next, discovered Cape of Good Hope, in 1502. Pope gave all of Africa to Portugal. First: Portugese Guinea, next Angola, built forts, then to Mozambeco, then to India, built posts along the coastal areas, only had small boats. Africa remained almost untouched unti

Bosch 52; Huth Library 177; Maggs, Bibl. Brasiliensis 104; Rodrigues 171. First edition of this principal history of the reign of João III of Portugal (1502-1557), ruler of Portugal from 1521 until his death. His reign was marked by the introduction and establishment of the inquisition in Portugal from 1536 onwards. During his rule, Portuguese possessions were extended in Asia and in the New World through the Portuguese colonization of Brazil. ''Francisco de Andrada (ca. 1540-1614) was a Commander of the Order of Christ, a member of the State Council, Chief Keeper of the Archives and Chief Chronicler of the Kingdom. He was the son of Fernâo Alvares d'Andrada, Treasurer to King Joâo III'' (Maggs).With the bookplate (in gold) of the Huth Library on inside of front cover, embossed stamp of Antonio de Almeide Correa on the title-page. Very good copy of an important work on the discoveries and conquests of the Portuguese.

Reggio: Bertochus, 1502. Reggio: Bertochus, 1502. <p>Calepino, Ambrogio (1440-1510/11). Ambrosii Calepini bergomatis eremitani dictionarium. Folio. [444]ff. Rhegii Lingobardiae [Reggio]: Dionysius Bertochus, 1502 (colophon). 312 x 208 mm. 19th century half calf, paste paper boards, rubbed, corners worn. First and last leaves remargined, marginal repairs to a number of other leaves, minor worming and staining, but on the whole a good copy. Letter tabs added by an early owner. Sheet with former owners notes tipped to inside front cover; notes in another hand on front free endpaper.</p><p>Rare First Edition of the most successful and widely reprinted reference book of the early modern period, which went through an astonishing 166 editions in the sixteenth century, followed by 32 in the seventeenth and 13 in the eighteenth. Calepino, an Augustinian monk, devoted some thirty years to composing his dictionary, which focused on classical Latin usage and on encyclopedic information and literary examples from ancient culture. In the years after his death many, mostly anonymous editors made modifications, corrections, and especially additions, often borrowing from other dictionaries . . . In the early modern period the Calepino not only became the most widely recognized brand of dictionary, still active in the early twentieth century, but it also came to stand for the entire dictionary genre . . . At the same time the success of the Calepino solidified the association of the title dictionarium with the dictionary genreonly a few major dictionaries were
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Ioane tacuinu de Tridino [Joanne Tacuinus De Tridino], Venetiis [Venice] 1502. Small folio. (6 leaves + leaves I-CXXXXIII + 1 leaf). With woodcut on the titleleaf (a saint with sheep and cross). First page with woodcut initial and heading printed in red. Last page with woodcut printer's device. Also with other illustrations, for instance of a hierarchy of angels. Bound in a half vellum binding with calligraphed title on the spine. Binding is late 19th century/early 20th century. Small inscription and an almost erased owner's stamp. With a few near contemporary marginal annotations and a couple of underlinings with pen. A few small wormholes throughout, but not affecting the text. Otherwise the pages and printing is nice, crisp and clean.. Graesse II, p. 399.** A very early edition of the works of Pseudo-Dionysius the Aeropagite, presumeably written in the early sixth century by a neo-platonic theologian and normally referred to as Corpus Areopagiticum. The mysticism of the work has had a huge influence on both western and eastern Christian thought

Venice: Aldus Manutius, August, 1502. Editio princeps of the seven surviving complete plays of Sophocles, the greatest of the Greek tragedians. This volume contains the first printing of Oedipus Rex, generally considered the greatest Greek tragedy. This edition served as the fundamental text for more than three hundred years. Sophocles (497-406 BC) was not only a playwright, but also a leading citizen of Athens during the greatest period of its history. This period brought the military supremacy of Athens after the defeat of Persia in 478 as well as the building of the Parthenon, the great Temple of Athena, and the stone theater of Dionysus. Sophocles was a general with Pericles during the revolt of Samosin in 441, a state supervisor of tribute from the Athenian empire, and finally one of the ten (probouloi) commissioners over the Council of Five Hundred of the oligarchy after the coup of 411. Sophocles wrote more than 120 plays; those in this volume probably owe their survival to their selection for use as an educational textbook. These seven plays contain some of the most powerful and timeless dramas ever written, including Oedipus Rex, a work in which the poet attains the supreme height of dramatic concentration and tragic intensity (Lewis Campbell). This play, Oedipus Rex, part of the Theban trilogy, is generally considered the greatest of the Greek tragedies. A LANDMARK IN THE HISTORY OF PRINTING. This book, printed in Venice by Aldus Manutius, is the first Greek book issued in the Aldine portable format and the first classical text printed in the smallest and finest
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Aldus (Aldine Press), Venice, 1502. First Edition. Hardcover (Vellum). Good Condition. First Aldine edition of Lucan's epic poem on the conflict between Julius Caesar and Pompey. Later vellum, soiled, front joint cracked, bookplates from a previous owner and from Harvard Library on the front and rear pastedowns a stamp to the title verso, and an embossed stamp to the first page. Title inlaid, scribbles on the title page, slight wear and soiling to the final leaf with the colophon. Generally quite clean and bright otherwise, and complete; 140 leaves. Toovey, Bibliotheca Aldina - Lucanus, noting two counterfeit copies, one lacking the Aldus letter and one undated. Adams L1557. Size: Octavo (8vo). Previous owner's inscription, lavish, in ink. Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Poetry; Antiquarian & Rare. Inventory No: 044359. .

Paris: Philippe Pigouchet for Simon Vostre, c. 1502. Octavo. 140ff. Printed on vellum. With the French printer and engraver Philippe Pigouchet's woodcut title page device, twenty-one large woodcuts and twenty-seven miniatures; also with woodcut ornamental borders on every page. The large cuts are as follows: Anatomical Man ; Martyrdom of Saint John; Betrayal; Tree of Jesse; Annunciation; Visitation; Crucifixion; Pentecost; Holy Child adored by Joseph; Mary and the Shepherds; Adoration by Shepherds; Annunciation to Shepherds; Adoration by Magi; Presentation; Flight into Egypt; Death of the Virgin; Death of Uriah; David and Bathsheba; Last Judgment; Dives and Lazarus; Church Militant and Church Triumphant; Burial of Christ. All illustrations have been very finely illuminated in colors, heightened with gold and silver. This edition is notable for its twenty-two Dance of Death cuts, which appear in the ornamental woodcut borders from L8 to P2, and again in the final gathering. In a handsome early 17th century fanfare-style binding of full brown morocco. The decoration is comprised of central cartouche surrounded by minute, intricate gilt foliate vines forming a diamond shape. Vines fill in the corners of gilt-ruled border, and floral and geometric designs fill in concentric borders around the edges of the covers. Housed in cloth slipcase. Bookplate.

Venice in Aedib. Aldi. Accuratissime men. Aug MDII. (Venezia. Aldo Manuzio, 1502). The first Aldine printing of The Divine Comedy and the Aldine "pocket book" format and the first use of the anchor device. With the famous Aldine anchor device on the final leaf. 8vo; 160mm x 95mm, in a beautiful antique binding of full polished vellum, the spine decorated with gilt ruled raised bands separating the compartments, two of the compartments with lettering labels of dark maroon morocco gilt lettered, the covers with triple gilt fillet rules at the borders, marbled endleaves, red edges. [244] leaves, and with the f.82 blank present. A very handsome and desirable copy, very nicely bound. Internally crisp and and quite bright and clean throughout, four of the leaves a bit shorter than the others, but with the same edge colour and clearly part of the text-block for a great time, last leaf with small restoration to the upper outside corner. RARE AND IMPORTANT AND ONE OF THE GREAT BOOKS IN LITERARY AND PRINTING HISTORY. The first Aldine printing of Dante's Divine Comedy; the first edition of Dante to appear in a more handy, portable format (all previous editions were folios); the first book to contain the famous Aldine device of the anchor and dolphin (though Renouard suggests that a portion of the edition was issued without the device). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. This book for all intents and purposes inaugurated the beginning of literary publishing by Aldus by which books became availa
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Venice in Aedib. Aldi. Accuratissime men. Aug MDII. (Venezia. Aldo Manuzio, 1502). The first Aldine printing of The Divine Comedy and the Aldine "pocket book" format and the first use of the anchor device. With the famous Aldine anchor device on the final leaf. 8vo; 160mm x 95mm, in a beautiful antique binding of full polished vellum, the spine decorated with gilt ruled raised bands separating the compartments, two of the compartments with lettering labels of dark maroon morocco gilt lettered, the covers with triple gilt fillet rules at the borders, marbled endleaves, red edges. [244] leaves, and with the f.82 blank present. A very handsome and desirable copy, very nicely bound. Internally crisp and and quite bright and clean throughout, four of the leaves a bit shorter than the others, but with the same edge colour and clearly part of the text-block for a great time, last leaf with small restoration to the upper outside corner. RARE AND IMPORTANT AND ONE OF THE GREAT BOOKS IN LITERARY AND PRINTING HISTORY. The first Aldine printing of Dante's Divine Comedy; the first edition of Dante to appear in a more handy, portable format (all previous editions were folios); the first book to contain the famous Aldine device of the anchor and dolphin (though Renouard suggests that a portion of the edition was issued without the device). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. This book for all intents and purposes inaugurated the beginning of literary publishing by Aldus by which books became availa
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Venice in Aedib. Aldi. Accuratissime men. Aug MDII. (Venezia. Aldo Manuzio, 1502). The first Aldine printing of The Divine Comedy and the Aldine "pocket book" format and the first use of the anchor device. With the famous Aldine anchor device on the final leaf. 8vo; 160mm x 95mm, in a beautiful antique binding of full polished vellum, the spine decorated with gilt ruled raised bands separating the compartments, two of the compartments with lettering labels of dark maroon morocco gilt lettered, the covers with triple gilt fillet rules at the borders, marbled endleaves, red edges. [244] leaves, and with the f.82 blank present. A very handsome and desirable copy, very nicely bound. Internally crisp and and quite bright and clean throughout, four of the leaves a bit shorter than the others, but with the same edge colour and clearly part of the text-block for a great time, last leaf with small restoration to the upper outside corner. RARE AND IMPORTANT AND ONE OF THE GREAT BOOKS IN LITERARY AND PRINTING HISTORY. The first Aldine printing of Dante's Divine Comedy; the first edition of Dante to appear in a more handy, portable format (all previous editions were folios); the first book to contain the famous Aldine device of the anchor and dolphin (though Renouard suggests that a portion of the edition was issued without the device). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. This book for all intents and purposes inaugurated the beginning of literary publishing by Aldus by which books became availa
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Venice in Aedib. Aldi. Accuratissime men. Aug MDII. (Venezia. Aldo Manuzio, 1502). The first Aldine printing of The Divine Comedy and the Aldine "pocket book" format and the first use of the anchor device. With the famous Aldine anchor device on the final leaf. 8vo; 160mm x 95mm, in a beautiful antique binding of full polished vellum, the spine decorated with gilt ruled raised bands separating the compartments, two of the compartments with lettering labels of dark maroon morocco gilt lettered, the covers with triple gilt fillet rules at the borders, marbled endleaves, red edges. [244] leaves, and with the f.82 blank present. A very handsome and desirable copy, very nicely bound. Internally crisp and and quite bright and clean throughout, four of the leaves a bit shorter than the others, but with the same edge colour and clearly part of the text-block for a great time, last leaf with small restoration to the upper outside corner. RARE AND IMPORTANT AND ONE OF THE GREAT BOOKS IN LITERARY AND PRINTING HISTORY. The first Aldine printing of Dante's Divine Comedy; the first edition of Dante to appear in a more handy, portable format (all previous editions were folios); the first book to contain the famous Aldine device of the anchor and dolphin (though Renouard suggests that a portion of the edition was issued without the device). According to Brunet, this is a much sought-after edition, and copies are difficult to find in complete and desirable condition. This book for all intents and purposes inaugurated the beginning of literary publishing by Aldus by which books became availa
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